After years of playing in live bands in which we tried to capture energy in the moment, I began to turn my attention to crafting and capturing sound in the studio. My band Cobra Kia Dojo recorded an E.P. at Wellspring Sound in Acton, MA and I was fascinated by the process and potential which manipulating truly great gear could add to music.

I formed a new virtual band and production project, The Disband, with a friend in 2002, and we set about putting together a home studio in which we could focus on tracking our music, and putting together unique line-ups of musicians as they suited each song we wrote.

We produced 3 E.P.s and a full album in this way, and achieved some college radio play of
our music. Along the way we were able to record flute, cello, paino, guitar, bass, Spanish guitar, and many different vocalists, among other things. I grew to love working with all
these different musicians over the next few years, and really got the bug for studio engineering. I decided that it was a career I wanted to get into full time.

I took courses and starting interning at Bristol Studios in Boston, where I tracked various vocalists and hip-hop artists, and assisted with tracking bands. In 2008 I moved back to Wellspring Sound, where I had recorded several years before, and began mic'ing, tracking, mixing and mastering full bands playing folk, gospel, jazz, classical, rock and punk music.
I also started working at Sherwood Forest Studios recently, and have tracked and mixed several rock bands there.

I've kept up my own recording too, in a new virtual band called Wring. I think it's really important for a studio engineer to keep connected to making music as well as recording
it, so they can retain a sense of energy and respect for the bands they work with and the recording they do.